JAWS 2: an alternative screenplay
by Daisy Wicker
Summary: This is an alternative screenplay for the sequel to Jaws, and is set in 1978. It is presented in a format similar to a screenplay format, but has been designed to be read like a novel.
1. Chapter 1

**Jaws 2: an alternative screenplay**

**Part One**

_**SCENE ONE **__Amity Island, a secluded bay at dusk. A Volkswagen van with a hippy style eco-logo (Warriors of the Sea) spay painted on its side pulls up. TOM, the driver, gets out, goes to the back and opens the rear doors. RON and VALERIE climb out and drag out an inflatable dingy with a small outboard motor. SALLY comes round from the passenger side. Preparations of the dingy. _

_**SCENE TWO**__ Small dock. The dingy is in the water. RON in the dingy. VALERIE hands down scuba gear and climbs in._

TOM: Okay. Remember, only use the motor till you reach the headland. Paddle the rest of the way. The tide should be with you. And you need to get samples from the sea bed. Twenty feet down.

RON: Relax. We've been through all this.

VALERIE: Don't worry, Tom. We've done this a thousand times before. We'll be back in an hour. Now, don't you two get up to anything while we're gone.

_TOM smiles and puts an arm around SALLY._

SALLY _(handing a flashlight to VALERIE)_: The signal is three short flashes. We'll be waiting.

_RON starts the outboard and steers the dingy out into the bay._

TOM: Come on. Let's get a fire going.

TOM and SALLY walk back to the van.

_**SCENE THREE**__ In the dingy. RON cuts the engine as they come round the headland. Looking towards the land, we see the silhouette of some kind of processing plant on the bluff. RON and VALERIE paddle in the direction of a large buoy, and lash a line around its structure. RON straps on the aqualung. He spits into his mask to clean it. He ties a rope around his waist._

RON: Just play it out slowly. If you see anything, give two tugs on the line. Okay?

VALERIE: 'Kay.

_RON leans back and enters the water with a splash. VALERIE leans down and looks into the water. The line plays out gently through her hands._

_**SCENE FOUR **__Underwater POV shot of the silhouette of the dingy on the surface. _

_**SCENE FIVE**__ The beach. TOM and SALLY are sitting in front of a small fire. The last of the sun is sinking below the horizon. TOM looks at his watch._

TOM: Forty five minutes. They should be on their way back.

_**SCENE SIX**__ The dingy on the calm surface. The line is playing through VALERIE'S hands. Without warning, the line suddenly races through her hands, burning her palms. VALERIE reacts with a cry and drops the line. She looks at the final coils unravelling and grasps the line, twisting it around her wrists for purchase. She cries out as the line cuts into her. Then, as inexplicably as it started racing out, it stops._

_**SCENE SEVEN**_ _Underwater POV shot of the silhouette of the dingy on the surface. The POV moves towards the dingy._

_**SCENE EIGHT **__The dingy. The taut line has gone slack in VALERIE'S hands and she begins to pull it in._

_**SCENE NINE**__ Underwater POV shot of the silhouette of the dingy on the surface. The POV is almost upon the dingy._

_**SCENE TEN**__ The dingy. Something strikes the dingy from below and throws VALERIE into the water. She surfaces several feet away. The line has twisted about her upper body. Suddenly it goes taut again and she is pulled across the surface of the water at great speed. The line goes slack. VALERIE gulps and gasps. Without warning, she is pulled under the surface of the water. The dingy, still anchored to the buoy, has righted itself and wallows in the commotion of the water. The buoy's bell clangs._

_**SCENE ELEVEN**__ Underwater POV moving swiftly over the sea bed. _

_FADE TO:_

_**SCENE TWELVE**__ POV through windshield of Amity PD patrol car showing a road at night. HENDRICKS at the wheel._

_**SCENE THIRTEEN**__ Parking lot of THE BLUE MARLIN, a tavern on the outskirts of town. Flickering animated neon sign of a leaping fish. Music coming from inside the bar. HENDRICKS'S patrol car pulls up alongside a Chevrolet Blazer with Amity PD on its side. HENDRICKS gets out and mounts the steps to the tavern._

_**SCENE FOURTEEN**__ Interior of the tavern. "Mack the Knife" playing on the jukebox. BARMAN is wiping down the bar, stacking glasses. It's late. HENDRICKS spies his boss CHIEF BRODY in a booth with two LOCALS. BRODY appears to be miming shooting something and then an explosion. HENDRICKS approaches the booth. He notes the circles that beer bottles have left on the surface of the table. BRODY is finishing off a story he has told many times._

BRODY:_ …._KA-BOOM! Blown out of the water. No more shark problem. [Reacting to HENDRICKS] Hey, Lenny, what's the emergency?

HENDICKS: Mrs Brody.

BRODY: Ooops.

_HENDRICKS helps BRODY to his feet._

BRODY: Thanks for the drinks, fellahs.

_HENDRICKS leads BRODY to the door._

_**SCENE FIFTEEN**__ The parking lot. As they approach the vehicles, BRODY searches in his pockets for the keys._

HENDRICKS: We'll take my car. You can come get the Blazer in the morning.

BRODY: Good thinking. Wouldn't want to get a ticket.

_**SCENE SIXTEEN **__Interior of patrol car. BRODY in the passenger seat. HENDRICKS behind the wheel. BRODY struggling with his seat belt._

HENDRICKS: Hey, Chief? Are you okay?

BRODY: Sure.

HENDRICKS: I mean, really okay?

BRODY: Sure.

_HENDRICKS starts the engine and pulls out_.

_**SCENE SEVENTEEN **__Road passing by a large billboard. On the billboard are illustrations of several water activities (sailing, swimming, scuba diving, fishing) and the legend WELCOME TO AMITY - AN ISLAND PARADISE. The lights of the passing patrol car illuminate the billboard._

_**SCENE EIGHTEEN**__ Interior of patrol car. The radio crackles._

DESPATCHER (_V/O_): Despatch to Deputy Hendricks. Despatch to Deputy Hendricks. Are you there, Deputy? Over.

HENDRICKS (_picking up mike_): Hi, Polly. This is Lenny. You can call Mrs Brody and tell her we're on our way.

DESPATCHER: Roger that, over. We've got a report of missing persons. Couple of youngsters. Off-islanders. Possible boating accident. Over.

BRODY (_snatching the mike from HENDRICKS_): Polly, this is Chief Brody. Say again.

DESPATCHER: Well, hi there, Chief. Got a young feller and his girl down here at the station. Say their friends are gone missing. Went out in a dingy and didn't come back. Over.

BRODY: Okay, Polly. Just keep them there. We'll be along in ten, fifteen minutes.

DESPATCHER: Sure, Chief. Over and out.

HENDRICKS: Hey, Chief. I got to get you home. You need to … er … rest.

BRODY (_cranking down the window)_: I'll rest on the way to the station. Let's go.

_**SCENE NINETEEN**__ Street outside Amity Police Station. Patrol car pulls up and HENDRICKS and BRODY get out._

_**SCENE TWENTY **__Interior of Amity Police Station. TOM and SALLY are sitting on a bench opposite the counter where POLLY sits, writing something. BRODY and HENDRICKS enter. TOM and SALLY get to their feet and start talking over each other._

TOM: Say, are you in charge here?

SALLY: You've got to help us. Our friends have gone missing -

TOM: We think something's happened to them -

BRODY: Alright, alright. Calm down. Polly?

POLLY (_looking up from her newspaper_): Four across. Eleven letters. Disastrous occurrence, starting with a C and ending in an E.

BRODY: The report?

POLLY: Oh, yes, chief. Here you are.

BRODY: Okay, let's go into the back here where we'll have more room. (_As they move into the back_). Now, I want you to start at the beginning and tell me everything that happened.

CUT TO:  
_  
__**SCENE TWENTY ONE**__ Interior of the back office of Amity Police Station. Close up on BRODY'S face registering what he has just heard. Pull back. TOM and SALLY are sitting across a table from BRODY. HENDRICKS is leaning back against the wall_.

BRODY: That's everything?

TOM: Yes, like I said. We waited on the beach until it was dark. Then we came here.

BRODY: So, your friends. They went out like three hours ago.

SALLY: Yes, and they didn't come back.

BRODY: Maybe they got … uh … distracted. Maybe put up in one of the coves along the coast there.

SALLY: No, they wouldn't do that. We agreed. Just one hour.

BRODY: You agreed?

TOM: Listen, ah, sheriff -

BRODY: Chief.

TOM: Okay. Chief. Listen Chief Brody. You've got to believe us. There's something not right. Something's happened to them.

BRODY: Do they know boats? Are they good swimmers?

SALLY: They're good swimmers and they know boats. They're Australian. Practically grew up in the water.

BRODY: So, it's a calm night. No wind. They weren't planning to go out into open water. I just don't see -

TOM: My God, what does it take for you people to do something? You need a body to wash up on shore before you believe us?

_CUT TO: close up reaction on BRODY'S face_.

BRODY: No. (_BRODY looks over to HENDRICKS_). Okay, Lenny. Let's get the launch and go and check out those waters.

SALLY: Thank you, thank you.

BRODY: It's probably nothing. But if I find them on some beach smoking weed, I'm going to bust them. They're not going to thank you for that.

.

_**SCENE TWENTY TWO **__The dock. HENDRICKS is preparing to cast off. BRODY is putting on a life jacket. TOM and SALLY are standing on the dock_.

TOM: We should come with you. I mean, in case we need to identify – um – er

BRODY: It's not a crime scene yet, Quincy. (_Softening_). Listen, maybe you should go back to the beach. Your friends might have turned up.

SALLY: The chief's right, Tom. You go back and I'll go with the chief. (To BRODY). I mean, I know exactly where they were planning to go.

BRODY (_reluctantly_): Okay. Get in. (_SALLY climbs down the ladder into the launch_.) Start her up, Lenny.

HENRICKS starts the engine as BRODY casts off the stern line. TOM remains on the dock watching the launch until the darkness swallows it up.

**END OF PART ONE **


	2. Chapter 2

**Jaws 2: an alternative screenplay**

**Part Two**

_**SCENE TWENTY THREE **__Half a mile off Amity Island's South Beach at night. Amity PD launch moves through the water. DEPUTY HENDRICKS at the wheel. CHIEF BRODY and SALLY stand behind him. All are lit by the yellow light of the cabin's interior._

HENDRICKS_ (checking the instruments): _We're coming up on South Beach.

SALLY: Bear north-east towards Cape Scott. When we come round the headland we should see a buoy marking the channel.

BRODY: You know this stretch of coastline pretty well for an off-islander.

SALLY: I did research here one summer when I was a grad student at the Oceanographic Institute.

BRODY: Wood's Hole?

SALLY: Yeah.

BRODY: So you study fish?

SALLY: No, my field was Physical Oceanography. (_BRODY looks blank_.) Studying water. Ocean currents, wave phenomena, salt water properties. I was going to be an oceanographer.

BRODY: Was?

SALLY: Yeah, I dropped out. (_Smiling._) I'm just a beatnik now.

HENDRICKS: We're coming to the headland. (_Distant bell_). You hear that sound?

SALLY: That's the buoy. About a hundred yards, south-south-west.

HENDRICKS: Say, Chief. Can you get the light?

BRODY: Aye, aye, captain.

_BRODY mans a small searchlight mounted on the roof of the cabin. The light illuminates a patch of water and reveals the buoy with the dingy still tied to it_.

SALLY: That's their dingy.

BRODY: Lenny, can you pull up alongside?

_HENDRICKS reverses the launch so that its stern is close to the buoy. BRODY leans over the transom and grasps the line_.

_**SCENE TWENTY FOUR **__POV of the police launch from the sea bed below._

_**SCENE TWENTY FIVE **__BRODY pulling at the line to draw the dingy in._

SALLY:What happened?

BRODY: Like I said, maybe they went ashore. Only a few hundred yards to that cove. You said they're good swimmers.

SALLY: That's private property. (_BRODY reacts, puzzled._) I mean, they wouldn't go there. They said they would only take an hour to -

BRODY: To do what?

SALLY: To get here and come back. It's been almost four hours. The dingy's empty. There's no sign of them. Something's happened, I know it.

_BRODY drops the line and goes into the cabin. He emerges with a small bullhorn._

BRODY (_through the bullhorn_): Ahoy! Ahoy there! Anyone on the beach? This is Amity PD. Do you require assistance? Ahoy there. (_No reaction._) Looks like we'll have to notify the coastguard. Lenny, get on the radio. We'll tow this dingy back in. Whatever happened here, there's nothing more we can do.

_**SCENE TWENTY SIX **__Extreme close up on a glass of water. Two soluble aspirin are dropped into the water and begin to fizz. Pull back to reveal BRODY leaning forward on his office desk with his head in his hands. Interior of Amity Police Station, the next morning_. _POLLY, carrying an armful of files, enters the room_.

POLLY: Ah, there you are, chief. You're in awful late. Bad night?

BRODY (_looking up_): You could say that. What are those?

POLLY: Files for the archive. (_Looking at one of the spines._) Nineteen seventy four.

BRODY: Right. Listen, Polly, you seen Hendricks?

POLLY: The deputy was in earlier. Said he had to go down to the dock for something. (_She exits the room_.)

BRODY (_to himself_): Well, looks like the two of you have got everything under control. (_He picks up the glas_s.) Cheers. (_He swallows the contents in one gulp and grimaces_.)

_The phone rings. BRODY holds his head as if in pain and gently lifts the receiver._

BRODY: Chief Brody. Oh, hi, Mick. Any news? Uh-huh. Mm, yeah. The whole area? No, well, we don't know. Just thirty yards from shore in a secluded bay. I mean, what could have happened? Okay, well, I guess have the chopper make another sweep of the coastline. Keep me posted. Sure. Thanks. Bye.

_Sound of outer door opening. HENDRICKS comes into the room_.

HENDRICKS: Hi, chief. Did you see the coastguard's report? I left it on your desk.

BRODY (_looking at his in-tray for the first time_): Oh, sure. As a matter of fact, I just got a call from Chief Petty Officer Feldman. They've found nothing.

HENDRICKS: Yeah. (_Leaning over the desk with a self-satisfied expression_.) But I have.

CUT TO:

_**SCENE TWENTY SEVEN **__Close up of table in police interview room. A battered scuba tank and partially torn breathing apparatus is set down with a clang. Pull back to reveal BRODY on one side of the table. On the other sit SALLY and TOM. HENDRICKS leaning back against the wall._

BRODY: So, do you want to explain this?

_SALLY and TOM exchange a nervous glance._

BRODY: You recognize it?

TOM (_bluffing_): Sure, it's a scuba tank. Pretty common equipment on an island, I'd say.

SALLY (_her head bowe_d): It's Ron's gear. There's a sticker on the base of the tank that says Great Barrier Reef.

BRODY: Your Australian friend?

SALLY: Yes, but I can explain -

BRODY: Oh, you can be sure you're gonna do that.

TOM: Where did you find this?

BRODY: On the sea floor. Hendricks had some local divers go down first thing this morning. Now what I want to know is -

TOM (_leaning forward_): The tank's all beat up.

_SALLY leans forward to examine the tank. She runs her hand over the metal surface._

SALLY: Yeah. Look at these marks. What are those?

_CLOSE UP on a curved line of indentations on the tank. BRODY exchanges a look with SALLY and TOM_.

CUT TO:

_**SCENE TWENTY EIGHT**__ Clear blue sky over water. An amphibious helicopter with a Coast Guard decal on its side flying low over the ocean, the coastline visible in the distance_.

_**SCENE TWENTY NINE **__Interior of the chopper. PILOT staring straight ahead. Next to him the CO-PILOT is scanning the surface of the sea with binoculars_.

PILOT: Okay, that's it. We've circled the island twice. Let's head back in.

CO-PILOT: Okay, roger that.

_The helicopter banks to head back towards land. CO-PILOT takes one last look through the binoculars._

CO-PILOT: Hey, wait a minute.

PILOT: What?

CO-PILOT: Thought I saw a shadow. Something in the water.

PILOT: Want me to set us down?

CO-PILOT (_rubbing his eyes_): Maybe it's just the glare. (_Scanning the water again with binoculars_.)

PILOT: Let's take a closer look.

_**SCENE THIRTY**__ The chopper descends until it's hovering just feet above the surface of the ocean. The wash from its rotor blades makes a circle of choppy water_.

_**SCENE THIRTY ONE**__ POV of the disturbed water and the distorted image of the chopper from thirty feet below. Muffled beat of the rotor blades._

_**SCENE THIRTY TWO**__ The chopper settles on the ocean. PILOT cuts the engine and the rotor blades slow to a stop, and sag over the cockpit_. _CO-PILOT opens his door and puts one foot on the pontoon_.

_**SCENE THIRTY THREE**__ From the interior of the cockpit PILOT surveys the water._

PILOT: See anything?

_**SCENE THIRTY FOUR**_ _POV of the chopper from twenty feet below and slowly closing_.

_**SCENE THIRTY FIVE**__ CO-PILOT leans a little further out and squints at the water._

CO-PILOT (_muttering_) I could have sworn …

PILOT (_from inside the cockpit_): What you say?

_**SCENE THIRTY SIX **__CO-PILOT pulls back into the cockpit and closes the door_.

CO-PILOT: Okay, let's go. I could use a beer. A cold glass of Narragansett. Or maybe two.

PILOT (_starting the engine_): Roger that.

_**SCENE THIRTY SEVEN**__ The chopper on the surface of the ocean. The rotor blades turn and turn, becoming a blur._

_**SCENE THIRTY EIGHT **__POV of the chopper from ten feet below_.

_**SCENE THIRTY NINE **__The chopper lifts off the surface of the water and begins to gain height._

_**SCENE FORTY**__ Low shot over the water showing the helicopter heading towards land. The gentle sway of the tide. Without warning the monstrous head of a SHARK breaks the surface as the creature breaches the water. Briefly we see its full length before it crashes back into the ocean_. _Gradually the water becomes calm again. The dorsal fin of the SHARK is heading towards the island of Amity._

**END OF PART TWO **


	3. Chapter 3

**Jaws 2: an alternative screenplay**

**Part Three**

_**SCENE FORTY ONE **__Interview room at Amity Police Station. SALLY and TOM are alone in the room engaged in a whispered conversation._

SALLY: Tom, I don't like this. We should tell them.

TOM: Are you crazy? They're cops. (_He rubs thumb and forefinger together_.)

SALLY: So why come to them in the first place?

TOM: I don't know. It's what people do. But I don't trust that sheriff.

SALLY: Chief Brody?

TOM: Yeah. Did you smell the alcohol on him last night?

SALLY: I don't know. He's kinda -

TOM: Kind of what?

_Their conversation is interrupted by BRODY coming into the room. He has some papers in his hand._

BRODY: Polly's typed up your statements. I need you to sign them. (_He holds out a pen. TOM is about to take it from him, but BRODY pulls it back_.) Unless you got something more to say.

TOM (_taking the pen_): No.

_TOM signs aggressively and gives the pen to SALLY. SALLY hesitates, looks at BRODY, then TOM, and signs the paper_.

BRODY: Okay, then. Your friends are officially registered as missing. We're doing everything we can to locate them. You got an address on the island where I can contact you?

SALLY: We're kinda living out of our van. (_A weak smile_.) Like I said, I'm a beatnik.

BRODY: Maybe you can tell me where you're going to be parked?

TOM: Down by the beach. There's not a law against that, is there?

BRODY: As long as you're not in a red zone.

TOM (_standing_): Come on, Sally. Let's get out of here.

SALLY: Thanks. (_Pause_) Chief Brody, I - ah -

TOM: Come on, Sally. Let's go.

_SALLY and TOM leave. BRODY looks down at the statements on the table and turns one right way up. He shakes his head, pulls a hip flask from his pocket and takes a swig_.

_**SCENE FORTY TWO**__ Interior of Amity Police station. BRODY goes to the window and looks out. He watches SALLY and TOM get into their van and drive away. HENDRICKS comes up beside him_.

HENDRICKS: Coastguard called. They're done a complete search of the coastline. Nothing. Do you think those Australians drowned?

BRODY: If they had, the tide would have washed them up somewhere. Something's happened, though. There's something they're not telling us.

HENDRICKS: You want me to put a tail on them?

BRODY (_reacting with amusement_): Lenny, this is Amity, not the streets of San Francisco. We know where to find them if we need them.

_BRODY takes his jacket from the back his chair_.

HENDRICKS: Where you going? I thought we were gonna go over the fourth of July activities -

BRODY: Polly can help you. I'm going to go check out that beach.

CUT TO:

_**SCENE FORTY THREE **__Coast road that runs past the billboard advertising Amity – Island Paradise. BRODY in the Chevy Blazer drives past_. _Sound of car radio_.

_**SCENE FORTY FOUR**__ POV of road from interior of Chevy Blazer. The road winds along a rocky part of the coast_. _The Chevy comes to a halt at a turn in the road, which is marked by a sign that reads APEX PROCESSING. BRODY looks out to his left at the view of the ocean from the bluff. He puts the Chevy into gear and turns off the road._

_**SCENE FORTY FIVE**__The visitors' parking lot outside the Apex Plant. BRODY pulls into a space between a pick-up truck and a station-wagon. He gets out of the Chevy and looks at the plant. It is surrounded by high chain-link fencing, which extends beyond the perimeter and runs to the edge of the bluff and down the incline, blocking off access to the path that leads down to the beach and the bay below_. _BRODY_ _approaches the security booth at the main gate_. _Inside the booth is CARL, a middle-aged man in a uniform_.

BRODY (_leaning in at the booth's open partition window_): Hey, Carl. Didn't know you were part of this outfit.

CARL: Hi, Chief. Well, you know, you gotta go where the work is. How's the missus?

BRODY: Swell, thanks.

CARL: The boys?

BRODY: Also swell. Michael's got his first regatta on Tuesday. Sean's got the sailing bug, too.

CARL: They're like regular islanders. So what can I do for you?

BRODY: Well, there's a couple of tourists gone missing. Out in the bay there.

CARL: Yeah, heard about that. The coastguard was buzzing around here in that whirlybird first thing this morning.

BRODY: I'd like to get down to the beach. Take a look around.

CARL: Hell, Chief, I don't know if I can … Let me call the office. (_Sheepishly_.) Uh, you got a … a warrant?

BRODY: What are you doing here? Making moonshine?

_With an embarrassed shrug CARL slides the glass partition shut on the window and picks up the phone_. _As BRODY waits, he puts on a pair of aviator sunglasses_. _CARL finishes his call and slides back the partition_.

CARL: Sorry about that, chief. Go straight up to the main office on the right there.

_CARL presses a button to open the gate. BRODY gives an ironic salute as he passes into the compound. He walks up to the main office, mounts the steps and enters the building._

_**SCENE FORTY SIX **__The reception area. MURDOCH, a well-built man in his mid thirties, is waiting_.

MURDOCH: Murdoch. I'm the manager here. (_Shaking hands_.) You're Chief Brody? You've got quite a reputation on this island.

BRODY: Yeah. Still trying to live it down. Listen, I guess you know why I'm here -

MURDOCH: Carl said something about missing tourists. I spoke to someone from the coastguard on the phone. Petty Officer – er –

BRODY: Feldman.

MURDOCH: Right, Feldman. I think we pretty much covered it.

BRODY: I'm sure you did. You don't have any objection if I take a look down on the beach.

MURDOCH: Not at all. There's a path runs down this side of the fence.

BRODY: Thanks. (_Turns to go outside_.)

MURDOCH: Oh, Chief.

BRODY: Yeah?

MURDOCH: You want to be careful. (_BRODY reacts. Slight pause_.) It's pretty steep.

CUT TO:

_**SCENE FORTY SEVEN**__ Close up of BRODY'S boots kicking up dust and rocks. Pull back to show him descending the path, using the fence as support. _

_BRODY reaches the beach and stops, leans forward with his hands on this knees taking a few deep breaths. He looks along the curve of the beach. The sand is littered with rocks and flotsam._

_BRODY walks slowly along the water's edge, retreating from time to time when an incoming wave threatens to wash over his boots. Up ahead he spies a largish clump of seaweed. Close up of BRODY reacting with what seems like a look of distaste. He looks around, spies a piece of driftwood, picks it up and approaches the seaweed. He prods the clump with the wood and it moves. _

_BRODY reacts, steps back. Pierces the seaweed with his stick and levers it upwards. A large crab scuttles from underneath and into the sea. BRODY reacts. He snaps the stick in two and throws it away. He turns his gaze to the water and looks out to sea._

**END OF PART THREE **


	4. Chapter 4

**Jaws 2: an alternative screenplay**

**Part Four**

_**SCENE FORTY EIGHT **__MURDOCH'S office. A large landscape window looks out at the ocean. MURDOCH watches through the blinds as BRODY appears at the top of the bluff, and catches his breath before brushing down his uniform, dusty from the climb. MURDOCH is holding a telephone receiver. He speaks into it urgently._

MURDOCH: Mayor's office? I want to speak to Larry Vaughn.

_There is a pause on the line. MURDOCH watches BRODY head for the main gate, exchange a few words with CARL, and get into his Chevy._

MURDOCH: Vaughn? Murdoch. Listen. I've just had a visit from your chief of police. Yeah. Brody. He's been snooping around. Down on the beach. Now, I don't want him snooping around anymore. Neither do you. You want to protect your investment. Okay. You do that.

_MURDOCH hangs up the phone. He takes one last look out of the window as the Chevy pulls out of the parking lot_.

MURDOCH (_mouthing, almost silent_): Sonofabitch.

**SCENE FORTY NINE **_BRODY pulls up outside Amity Police Station and goes inside._

**SCENE FIFTY**___BRODY enters the station. POLLY is typing at her desk_.

BRODY: What's going on, Polly?

POLLY(_handing over a bunch of messages_): A couple of red zone violations on Main Street. Some kids jumping off the bridge into the Pond. Missing dog on Town Beach. Oh, and Mayor Vaughn's waiting for you in your office.

**SCENE FIFTY ONE **_BRODY enters his office to find LARRY VAUGHN, Amity's Mayor, is looking at the photos and citations that are hung on one of the walls._

BRODY: Larry. To what do I owe the pleasure?

VAUGHN (r_eading from the framed citation_.): Chief Brody. Amity's Man of the Year, 1974. You know, Martin, people round here really appreciate the job you do.

BRODY (_taking a seat behind his desk_): Well, I guess so.

VAUGHN (_taking a seat facing BRODY_): You want to be an islander, you need to think like one. You have to know what's good for this community.

BRODY: Listen, Larry, there's something I need to tell you -

VAUGHN: Now, wait a minute. (_Grinning_.) You didn't let me finish my stump speech. You know, I always used to say Amity was a summer town.

BRODY: Larry, I know –

VAUGHN: Now, we've had a couple of lean years. Tourists staying away. We can't just depend on summer dollars anymore. We need to invest in the future. That's why companies coming over from the mainland – companies like Apex – they deserve all the breaks we can give them.

_As he speaks, VAUGHN takes a pack of cigarettes and a lighter and lays them out on the desk._

BRODY: Sure, Larry, sure, but listen –

_VAUGHN taps out a cigarette and rolls it nervously between thumb and forefinger._

VAUGHN: If we make things difficult for them to do their business, then they're just going to take it back to the mainland. You know they employ over one hundred and fifty people, year round, and there's the –

BRODY: Larry, there's something you need to know –

VAUGHN: – charitable donations –

BRODY: – I think we may have another shark problem.

_VAUGHN stops dead. Cracks a smile of disbelief_.

VAUGHN: What?

BRODY: I was up there this morning. The bay where those Australians went missing.

VAUGHN: You found something?

BRODY: No, no, but I got a feeling. They were in the water at night. If they'd drowned, they'd have washed up on the beach there. No question.

VAUGHN: That's why you went up to the plant?

BRODY: Yes, I had a good look around.

VAUGHN (_suppressing relief_): Missing tourists. First of the season. Look, let's not get carried away. This is an island. People go swimming. Sometimes they drown. It's happened before.

BRODY: Not this time.

VAUGHN: Have their been any -ah- sightings?

BRODY: No.

VAUGHN: Any other reports of missing bathers?

BRODY: No, but –

VAUGHN: Fourth of July coming up. A lot of people in the water right now. Sailing, water skiing, scuba diving, swimming. All that activity and no reports of any ... ah … incidents. Believe me, Martin, if we had another problem like that one, we'd know all about it by now.Now, I read the report. No reason for you to get involved. Let the coastguard handle it.

_VAUGHN gets up to leave and BRODY goes with him to the door of the office. _

VAUGHN: You're doing a good job, Martin. We'll make an islander of you yet.

_VAUGHN gives BRODY a pat on the shoulder before leaving. BRODY stands by the framed citation and in the glass reflection we see him raise a flask to his lips._

**SCENE FIFTY TWO **_Amity dock. Harbor master FRANK SILVA comes out of his small shack and surveys his small kingdom. Coming down the dock are WALT, FELIX and CHARLIE, the three fisherman who caught the tiger shark back in seventy four. WALT wears a pork pie hat, a blue jacket over a pale yellow shirt and oil stained pants, FELIX a gray baseball cap and matching overalls, CHARLIE army surplus camouflage fatigues. WALT and FELIX are carrying fishing gear. CHARLIE brings up the rear with four six-packs of __Narragansett__ beer stacked against his chest, clamped down with his chin. They reach the mooring of a twenty six foot fantail launch and start loading their gear. FRANK SILVA wanders over to watch._

SILVA :You boys planning to go out in that thing?

WALT: Sure we are, Frank. Our annual Fourth of July fishing trip.

SILVA: Fourth of July ain't til Tuesday.

FELIX: You don't expect us to go fishing on a holiday, do you?

SILVA: You land anything more than a blue fish, you're gonna need a bigger boat.

CHARLIE: Aw, shucks, we ain't gonna do much fishing. We got ourselves some serious drinking to do.

_Everything has been stowed away and they are ready to cast off_.

SILVA: You be careful now.

FELIX: Weather holding up, Frank?

SILVA: Reckon it's gonna be another beautiful day. Calm as milk out there.

_WALT starts the motor and CHARLIE casts off. FELIX stands up unsteadily in the boat and raises his cap in farewell._

FELIX (_shouting_):We'll bring you home a couple of stripers. Have 'em for your supper.

_SILVA shakes his head and watches the boat head out to sea_. SLOW FADE TO:

**SCENE FIFTY THREE **_The calm surface of the ocean_. _Tilt up to reveal_ _WALT, FELIX and CHARLIE_

_in the fantail launch_. _WALT and FELIX, both in the stern, are playing_ _their lines. CHARLIE, having given up all pretense of being interested in fishing, is draining another can of beer near the bow. He crushes the can and tosses it over the side. He stands up to reach for another of the six-packs, and the boat rocks under his shifting weight._

WALT: Hey, sit down, Charlie. You're gonna scare away all the fish.

_CHARLIE snags a six-pack and returns to his place in the bow. The boat rocks again as he sits._

FELIX: Jesus. H. Christ, Charlie. You wanna swim home?

CHARLIE (_muttering to himself_): Swim home? Never said I could swim. Lived on an island all my life. Never said I knew how to swim. (_He cracks open another beer_.) Know how to drink, though.

_In the stern, WALT and FELIX resume their conversation as they continue to fish_.

WALT: Three thousand dollars divided three ways.

FELIX: Every year, you gotta bring this up.

WALT: That money was rightfully ours. We caught the friggin' fish.

FELIX: We caught the wrong friggin' fish. Just let it go, Walt.

WALT: Three thousand dollars.

CHARLIE (f_rom the other end of the boat_): Hey, what are you guys talking about?

FELIX: Just reminiscing, Charlie. Just reminiscing (_Laughs to himself_).

_A few moments of silence, and then a tug on the line as FELIX gets a bite_. _FELIX straightens his cap and sits up. The reel begins to spin_. _FELIX lets it play out. It suddenly stops. FELIX begins to pull in his catch, and immediately feels the strain_.

FELIX: Feels like a big 'un. Walt, get ready with the gaff.

_WALTER lifts the hook and leans slightly forward over the side_.

FELIX: I got it. It's coming up.

_In the bow CHARLIE struggles to get up, and rocks the boat_.

FELIX: Charlie! Sit down. Don't want to lose this one.

_FELIX's rod is bending is under the strain and suddenly rebounds as the line snaps. FELIX falls back and then straightens up. The line hangs limply from the rod. The boat has ceased rocking, buoyed up only by a gentle swell._

_Medium close up on WALT and FELIX as they speak._

WALT: Almost had him. Must have been a big mother.

FELIX: Maybe a game fish. At least five hundred pounds.

_The boat begins to rock again. FELIX and WALT turn in unison and shout_.

FELIX: Charlie -

WALT: Charlie-

_CHARLIE is seated, clutching both sides of the boat, which is now listing dangerously from side to side_. _FELIX and WALT exchange a look.._

CHARLIE:It isn't me! It isn't me!

FELIX: What the -?

_The boat is rocking more gently now. WALT scans the horizon. Extreme close up on his face as we see his reaction._

WALT: My God...

_FELIX and CHARLIE look in the direction of WALT'S open-mouthed stare and we see what they see: the metal gray fin of the SHARK scything through the water towards them._

CHARLIE: It's a – It's a – a shark.

WALT: No kidding. And a big one.

FELIX: Hold tight. It's going to ram us.

_The SHARK is only yards from the boat when it submerges and the fin disappears. The boat is rocked by the displacement of water as the SHARK swims under the vessel. CHARLIE grabs both sides and clings tight. FELIX and WALT move to the port side and look into the water. The rocking motions of the boat once again begin to subside. Moments pass. WALT moves back to starboard and peers into the water. He exchanges a glance with FELIX still on the port side._

WALT: It's gone. I think it's gone. Do you think it's gone?

FELIX (_cautiously_): Yeah, yeah. I think it's gone. Did you see the size of that thing?

WALT: We better get back in. Tell the chief he may have another shark problem.

_The boat rocks again. WALT and FELIX react and then look back to CHARLIE in the bow, who has moved forward to get another beer._

CHARLIE: Sorry, fellahs. Say, you want a beer?

_CHARLIE pulls the ring tab on the beer can and as it froths, the water behind him explodes and the SHARK leaps into the air, crashing down on the fantail launch._

_CUT TO: individual shots of WALT, FELIX and CHARLIE in the water. CHARLIE is struggling to keep afloat. _

_POV of the SHARK just above the surface of the water as it homes in on CHARLIE._

_CUT TO: close up on WALT witnessing the attack. He closes his eyes._

**END OF PART FOUR**


	5. Chapter 5

**Jaws 2: an alternative screenplay**

**Part Five**

**SCENE FIFTY FOUR **_The billboard advertising the island paradise of Amity. In the background BRODY drives past in the Chevy, heading home. The camera pans to follow the vehicle along the road and we hear the sound of a radio announcer talking about the weather._

**SCENE FIFTY FIVE** _The Brody house, white clapboard with a pitched roof and a picket fence outside, overlooking the sea. BRODY pulls the Chevy into its parking spot and gets out. As he heads towards the house he looks down at the dock and sees his son MICHAEL working on his Sunfish sailboat. BRODY ambles down to the dock_.

**SCENE FIFTY SIX** _The sailboat has been upended on some wooden supports and MICHAEL, a seventeen year old, is applying something to the hull with a brush_.

MICHAEL: Hi, Dad.

BRODY: Hi, Mikey. How's it going?

MICHAEL: Good. (_Stroking the hull with the brush_.) I had her at ten knots yesterday.

BRODY: Ten knots, huh? (_Pause_) Is that fast?

MICHAEL (_laughing_): Pretty fast. I reckon she could get to twelve in open water. I'm going to take her out this weekend.

BRODY: Open water? You mean out on the ocean?

MICHAEL: Yeah, Dad. It's a boat.

_BRODY is about to say something, but they are interrupted by the sound of ELLEN'S voice calling them in for supper._

**SCENE FIFTY SEVEN** _The kitchen of the Brody house. SEAN, nine years old, is already seated at the table, eating his macaroni cheese. ELLEN is making a salad at the counter when BRODY and MICHAEL come in_. _MICHAEL sits down at the table._

ELLEN: Wash your hands before you eat. (_To BRODY._). Hi, how was your day?

BRODY: Swell. (_He pecks her on the cheek as he passes on the way to the refrigerator._) Hey, we're out of beer.

ELLEN: Well, you drank it all last night.

BRODY (_reaching up to a cabinet_): Well, then I guess it'll have to be wine.

_BRODY takes a bottle of red and a corkscrew to the table. He begins to uncork the wine_._ ELLEN brings the salad to the table and sits as MICHAEL returns and takes his place_. _BRODY uncorks the wine and pours himself a generous slug. He gestures with the bottle to ELLEN, who shakes her head_. _BRODY takes a long drink and refills his glass. _

ELLEN: So, Michael, you gonna be ready Tuesday?

MICHAEL (_glancing at his father_): Yeah, I guess so. There's only a couple of faster boats in my category. I could place third easy. Maybe even have a shot at the junior title.

ELLEN: That's great. Isn't that great, honey?

_ELLEN turns to BRODY who is sinking another glass of wine_.

BRODY: I don't think it's such a good idea.

ELLEN (_puzzled_): What? What's not a good idea?

MICHAEL: Dad!

BRODY: A boat that small.

ELLEN: Martin, he's been training all spring. He practically lives on the water.

BRODY: Sure. In the Pond, or in the bay, but out on open water...

MICHAEL: Dad!

BRODY: Look, Mikey, why not wait until next year? You'll qualify for the senior category.

MICHAEL: Just because you're afraid of the water, doesn't mean I have to me.

ELLEN: Michael!

_MICHAEL gets up and leaves, slamming the back door. _

ELLEN: Martin?

BRODY: He'll get over it. I just don't want him out on the water right now.

_BRODY pours himself the last of the win_e. _ELLEN gets up, takes the empty bottle from the table and drops it in the trash_.

**SCENE FIFTY EIGHT **_The dock by the Brody house. It's dark, but a single light in the house burns downstairs. The sound of the water slapping against the dock_. _We linger almost as if we expect something to happen, but nothing does._

**SCENE FIFTY NINE **_BRODY asleep in an armchair, a plain covered book open on his lap. On the TV the Western "Rio Bravo" is playing: the scene at the start of the movie where John Wayne comes across Dean Martin in the saloon. On the table is an unfinished glass of scotch and a bottle_. _ELLEN comes into the room. She is wearing a robe over her nightgown. She puts the stopper back in the whiskey bottle and returns it to the cabinet. She takes a moment to watch the scene being played out on the TV before she switches it off. She leans over his husband's sleeping form and gently retrieves the book, casually turning it over to look at the contents. She lets out a startled gasp, almost a scream, and BRODY snaps awake. He looks at her and then down at the photograph of the gaping jaws of a shark that fills one entire page of the book._

ELLEN: Martin?

_Close up on BRODY's face as we fade to black_.

**SCENE SIXTY** _Morning in the kitchen of the BRODY household. The family is eating breakfast in silence._ _A glass of Morning Relief fizzes at BRODY's elbow. SEAN looks from his mother to his father to his brother, unsure of what is going on_.

MICHAEL (_sullenly_): Can I be excused?

ELLEN: Yes, Michael.

_MICHAEL slides off his chair._

BRODY: Hey, put your dishes in the -

_But MICHAEL has already left by the back door_.

ELLEN: He'll get over it, huh?

_SEAN looks from his father to his mother and bends his head to his cereal bowl again._

BRODY: Look, I'm not saying it's definitely…. that thing again, but I need to be sure.

ELLEN (_with a challenging stare_): You're the Chief of Police. You'd better be sure.

_The phone on the wall rings. BRODY gets up and answers it on the third ring_. _In the background ELLEN and SEAN have a brief exchange_.

BRODY: Yeah. Uh-huh. Did he say what it was about? Okay, I'll swing by on the way to the station. Oh, Lenny, one thing. Those "beach closed' signs we had made up, we still got them? No, no reason. Sure, I'll see you later.

SEAN: Mom, can I go swimming?

ELLEN: Maybe not today, Sean. Why not take Elmer down to the beach and play ball?

SEAN: Aw, Mom, he's too old to play ball.

BRODY (_getting off the phone_): Gotta go. Frank Silva wants me to go by the dock. Says he wants to report something. Crazy old coot. Should have retired long ago. (_BRODY glugs down his seltzer and grimaces_.)

**SCENE SIXTY ONE **_Amity dock. BRODY pulls into an empty parking space and as he gets out of the Chevy he notices the VW van with the Warriors of the Sea logo on its side two spots down. FRANK SILVA is waiting for BRODY outside the Harbor Master's hut, his pipe clamped firmly in his mouth._

SILVA: Morning, Chief. What can I do for you?

BRODY: You called the station, Frank. Had something to report?

SILVA: Oh, yeah. I did. Memory ain't what it used to be.

BRODY: So? What's troubling you?

SILVA: Oh, right, yeah. It's the _Barracuda_.

BRODY: Huh? What?

SILVA: Fantail launch registered to Walt Bannon. Walt went out fishing with his two buddies yesterday. They haven't come back.

BRODY: So, maybe they decided to stay out all night.

SILVA: Those clowns? I don't think so. They were pretty loaded went they set out, and they were carrying enough beer to float a battleship.

BRODY: You tried reaching them on the radio?

SILVA: Yup. Nothing doing.

BRODY: You reckon they could have moored somewhere else? Maybe on the other side of the island?

SILVA (_takes out his pipe and considers the question_): They coulda done that. Walt keeps a sloop out at Menemsha. Yeah, maybe that's it.

BRODY: Okay, well, I'll get Polly to check on it, just to be sure.

_BRODY has spotted TOM and SALLY loading gear into a small boat. _

BRODY: Say, Frank, those two rent that boat from you?

SILVA: Yeah. (_He spits into the water._) Summer ginks.

BRODY: Did they say what they were planning on doing?

SILVA: Oh, yeah. Said they were going fishing.

**END OF PART FIVE**


End file.
